Monday, December 5, 2011

Hubert Sumlin has died for more information Read HERE. Hubert was one of the last of the great Chicago guitarists from the golden age of Chicago blues. He played with the legendary Howling Wolf for many years. Will update when more information becomes available.

UPDATE

From Bob Corritore

December 8, 2011

RIP Hubert Sumlin - November 16, 1931 to December 4, 2011.Best known for his extraordinary guitar work on the 1950s and 1960s recordings of Howlin' Wolf, Hubert Sumlin is considered among the greatest guitarists of all time. Hubert passed away of a heart attack on Sunday, Dec 4
after a long bout with respiratory illness. He was 80 years old. Though
his health had been problematic for years, he continued to tour and
delight concert and festival audiences until close to the end. Born in Greenville, Mississippi
in 1931 and raised in Hughes, Arkansas, Hubert got his first guitar at
age 6. Hubert was very interested in music and as a boy snuck into a
nightclub to see Howlin' Wolf
perform. Hubert's youthful enthusiasm won Wolf's heart, who took the
young boy in and developed a father-like mentoring role with Hubert.
Wolf would move to Chicago in 1953 and a year later would call for
Hubert to move to Chicago to join his band. Initially Hubert played a
secondary role in the group with guitarist Jody Williams getting
most of the limelight. But when Jody left the band about 2 years
later, Hubert became the star guitarist. Hubert's unorthodox approach,
using innovative rhythmic textural lines and wild bursts of lead guitar,
became an integral part of the Howlin' Wolf sound., Howlin' Wolf and Muddy Waters
reportedly had a rivalry going as to who had the top blues band in
Chicago (both were amazing bands) and for a short period of time Muddy
recruited Hubert away from Wolf only to have Hubert return to Wolf's
band and never leave again. Hubert's guitar was an essential and
consistent part of the success of Wolf's recordings and live shows. The
music achieved by the Wolf / Sumlin combination reached the highest of
heights in the blues. When Howlin' Wolf recorded the London Sessions in 1970, Hubert began a life long relationship with UK blues artists like Eric Clapton and The Rolling Stones. In 1976, when Wolf died, Hubert was devastated. At first Eddie Shaw (Wolf's saxophonist) tried to keep the Howlin' Wolf
band together but Hubert would drift: spending time in Austin, Texas
under the care of Clifford Antone, or in Chicago where he stayed with Sunnyland Slim. In addition to recordings with Wolf, Hubert appeared on Chicago sessions with Eddie Shaw & The Wolf Gang, Andrew McMahon, Sunnyland Slim, Louisiana Red, Carey Bell, Little Eddie, Big Mac, and others. He recorded numerous albums under his own name for L+R, Black Top, Tone-Cool, Rykodisc, APO, JSP, Blind Pig, Blues Planet,
Blues Special and other labels. At a point, under the guidance of
manager Toni Ann Mamary, Hubert started to get his due as the guitar
legend he was. Hubert found himself hanging around and performing with
rock stars, playing major festivals, and having his historic bio, Incurable Blues, published. He was inducted into the Blues Hall of Fame
in 2008, Through all this notoriety, Hubert remained the kind, gentle
soul with the same boyish enthusiasm that first befriended the Howlin' Wolf.
His guitar playing was always intriguing, unorthodox, and impossible to
copy. As he was bedridden and nearing the last hours of his life, his
final request was to play his guitar one last time. We thank Hubert for
the light of joy he shined on the world and the heavenly music that he
left for future generations to behold. He was our blues blessing.
Special thanks to Hugh Southard of Blue Mountain Artists, Bob Margolin, and Little Frank who worked with him frequently on the road in recent years, Pat Morgan, James Cotton, Paul Oscher, Kim Wilson, Amanda Taylor, Diunna Greenleaf, Twist Turner, Little Mike, and all his friends and fans who all were there at all times to support Hubert.

Back Up Plan on the
RadioNo matter how well
you plan, you should always take into
consideration contingencies. December 11th on
Hammered By The
Blues (every Sunday on
KOWZ 1170AM at10pm) we will present it all
so simply, even a neophyte will understand. To
provide a solid foundation to build on we have
Steve Gerard & The National
Debonaires lay a solid base off
'Voodoo Workin''. We
start getting gettin' somewhere until Mark
Robinson captures your attention with a
bit of rabble rousin' off 'Quit Your
Job-Play Guitar'. We bring in an
expert to get things back on track as
Whiteboy James & The Blues
Express dazzle with some bling off
'Extreme Makeover'.
Thankfully we have some masters ramroddin'
this project, and Mighty Sam McClain &
Knut Reiersrud tighten things down they
way they oughta be with some glue off
'One Drop Is Plenty'. To
celebrate completetion Fiona
Boyes climbs to the top and testifys off
a compilation entitled 'Puddletown
Blues Vol 1' engineered by those
pixies at the Cascade Blues Assn. Don't worry, the
building inspector is my brother in law and owes
me $20!

Life can be accidental
or very well planned;

Just do your best when
you finally land; Don't get
nervous but you just get one
try;

If you spill the milk
just please don't cry!

Hammer-time!

Fresh Stuff Ya Wanna
Know

December Blue MondayNOW On Line
FEATURING the brand new 'Easy Read' format and
more stuff!
Dec. 3:
Scottie MillerLoring Theater; Minneapolis,
MN

I got an early Christmas present. The Chief volunteered to go into his
new job and work the Sunday of Thanksgiving weekend in order to build up
enough comp time to be the drummer in the band TONIGHT! And it couldn't
have come at a better time. The Main St. Waterloo organization is
throwing a big WinterLoo Christmas party at The Black's Building in
downtown Waterloo. This is an indoor version of their popular FridayLoo
series of concerts in the summer, which got hit by bad weather many
times this past year. Consequently, this is a fun way to raise some
funds for next summer's shows. Just like the FridayLoo events, this is
an after work, 5-8:30pm event, open to the public, free of charge, all
ages welcome. Beer and food venders all on sight. A Christmas tree
lighting in the park across the street and a visit from the Fat Man
(Santa, not Elvis) are also part of the festivities. Mistletoe optional
(BYO) Ho Ho Ho!...
The Chief will also be with us New Year's Eve
(http://www.theblueband.com/newyear.htm) (can you BELIEVE New Year's Eve
is 4 weeks from tomorrow??!) and thinks he can build up enough comp
time to be with us for my BIG Birthday bash in January at The Hub. But
he doesn't think there's enough time to qualify for comp time NEXT
Friday for The Blue Christmas party at The Hub. We are assembling a
really great list of potential drummer subs from all over the state and
hope to start a series of auditions in the next few weeks. For now, my
long-time friend John Rohlf is going to try and learn 35 songs in a week
and help us out next Friday. After that, we have no work scheduled til
New Years (still time to hire us for that Christmas House Party in your
basement or (heated) garage!) We'll probably use some of that time do
some of those auditions, so keep spreading the word, we're still
interested in talking with more potential drummers for The Next 30 Years
Tour...
I am at once cursed and blessed that I sincerely love what I do. Not
many people have as much fun at work as I do. If the opportunities to
have that fun continue to come our way (and we can find a drummer!) I've
got to take them, cuz I am a gig junkie and there doesn't seem to be a
12 step program for that affliction. Feed my habit!
(http://www.theblueband.com/contactBob.htm) See yas on the BlueLoo
Highway, play your washboard tie to the tune of Little Drummer Boy,
seasonal baking should always include Christmas CAKE, remember that
sometimes naughty IS nice, and always know that we love you. Bob Dorr
& The Blue Band

We have six CD reviews for you this week!
Greg “Bluesdog” Szalony reviews a new CD from Hope Waits. Gary
Weeks reviews a new CD from Chris Duarte. John Mitchell reviews a new CD
from Andreas Arlt. Steve Jones reviews a new CD from Wes Lee. Ian McKenzie
reviews a new CD from D’Mar & Gill and Rainey Wetnight reviews a new
CD from The Chicago Kingsnakes. All this and MORE! SCROLL DOWN!!!

Blues Blast
Advertising Special -
Lowest Prices Of the 2012 Season

Blues Blast Magazine is offering a winter advertising special. This early bird
special for the 2012 season will be our lowest
pricing of the 2012 year. It offers an affordable & effective way to get the
Blues word out! This 6 week combo rate of only $300 allows you to affordably
add significant impact to your Blues advertising and promotion campaign. It is a great way to kick
up the visibility of your new CD release, 2012 Blues Festival or event!

Normal
2012 Advertising rates are $65 an issue for Blues Blast magazine ads and
$90 per month
for website ads.

BUT, for a limited time, you can advertise in six
issues of Blues Blast Magazine and on our website for a month and a half for
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This is a $525 value!

Blues Blast Magazine is a great way to promote the Blues. More than 21,000
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and in more than 80 countries. We get more than 2,000,000 (That's TWO
MILLION) hits and more than 35,000 visitors a month on our website.

To get this special
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With this special rate your ad can be viewed more than 175,000 times by
Blues fans who want to know about Blues events and music! Reserve your space
today! Space is limited and will be sold on a first come first served basis.
Ads must be reserved and paid for by February 15, 2012. To get more information
email
info@thebluesblast.com or call 309 267-4425 today!

Featured Blues Interview - John
Németh

There
is so much energy in John Németh and his band it's hard to explain why
they haven't exploded yet. And after seeing and experiencing their live
performance it just defies logic that these musicians don't end their
set by spontaneously combusting into volcanic ash onstage. Pure and
simple: John Nemeth's voice and harp playing is as hot and furious as
any furnace and his music as captivating and enjoyable as anything
burning up the national Blues scene today. Read on and learn how Nemeth
feeds the fire:

Blues
Blast: Your style draws as much from classic soul and r & b as it
does from the blues. Who were your biggest influences growing up and who
do you listen to now ?

John
Németh: My first influences were Junior Wells, Freddie King, Magic
Sam, B.B.King, T.Bone Walker and Little Walter. After a while I got into
Otis Redding, Percy Sledge, James Carr, Big Joe Turner, Nat King Cole
and Fats Domino. A few country artists got me too. George Jones, Hank
Williams, Waylon Jennings and Willie Nelson. Then I started getting into
some other cats like Kim Wilson, Rick Estrin, Paul deLay, Bill Clarke,
Robert Cray, Junior Watson, Anson Funderburgh and Elvin Bishop.

BB:
When you write a song do you hear all the instrumental arrangements, the
harp parts, the lyrics and music in one inspiration or do you start
smaller and build to completion ?

JN:
I start small and personal. ll my songs start with a vocal hook. The
melody and the hook happen pretty much simultaneously. Then I work up
the chorus. Once the chorus is finished I tell the story in the verses
and maybe include a bridge. The groove and the style may change a few
times till I get the right chemistry with the the melody and phrasing. A
song may start as a ballad and wind up an uptempo or the other way
around. I change keys and feels. It's a very cool process. Then the
instrumentation and production follows. In the end the song must have an
energy and flow.

BB:
You've been called "the best white blues singer in history". What do you
feel is your true place in music history ?

JN:
I am honored by all the fantastic press I've received. I work hard to be
the best I can be. This music is my life and without it I don't know
what would have ever become of me. But I do believe the best is still
out there somewhere waiting to be discovered. Being a blues singer is a
special thing. My place in music history. Wow. It's something I've never
thought about. I may be grouped with many artists who never gave up on
the coolest music style in the world. Or maybe just one of the many
revivalists that the music has seen over the centuries to come.

BB:
Your harp playing has been compared to Sonny Boy Williamson and Little
Walter. Is this an accurate statement ?

JN:
I play blues harp. In the beginning I tried to sound like Little Walter
and Sonny Boy. Now I try and sound like myself. My style has changed
quite a bit. Especially with the real funky blues and soul that I've
been doing as of late.

BB:
What is the relationship between your vocals and your harp playing in
your songs ?

JN:
The harmonica is an extension of the song. First comes the song then the
vocal and then the harp if the song could use the harp.All the blues I
play has harp. Only half the soul numbers have harp.

BB:
Tell me about those two great guitarists you play with Junior Watson and
Bob Welch. Will both be on your next CD ?

JN:
I have had the great fortune of working with some fantastic guitar
players. Junior Watson gave me my first big tour opportunity. I opened a
show for Junior in my hometown of Boise, ID. After that he asked me to
go on tour with him. He has helped me out tremendously in my career. He
appears on two of my recordings "Come and Get It" and "Magic Touch".
Junior is simply one of the best and most creative guitarists out there
in the blues genre. His legions of emulators are a testament to his
talent. Bob Welch. I first heard Bob playing in RJ Mischo's band. I
heard him performing Earl Hooker's "Universal Rock". He had "it". That
was in 2008. I needed a great guitarist that would slog it out doing 250
days on the road. He performed remarkably and we recorded twice
together. On "Love me Tonight" and "Name The Day". Bob and I really have
wonderful chemistry together. By far, the most underrated blues
guitarist in my mind. Most guitarists don't fully understand how great
Bob is until they try to learn his parts. He is unique. As to who will
be the next guitarist I record with well I will surprise you !!!!

BB:
What's in the future for John Nemeth ?

JN:
Lord only really knows. I will continue beating up the road and
recording. I feel fortunate just to have the opportunity to perform so
often. I thank the fans, the road band (AC Myles, Nick Fishman, and
Tommy Folen), Blind Pig Records and Intrepid Artist for that.

BB:
You've just added your first child to the family last Fall. How has this
changed your career ? Have you written any songs about your latest
inspiration yet ?

JN:
I am so blessed with a wonderful wife Jaki and my baby Grace. Well the
first few months had my wife and me pretty wore out. I have written some
very enlightening tunes with my daughter in mind. It sure changes your
perspective. My career is still much the same. I wish I could be home
more but I have to hit the road to pay the bills so mama can stay home.
Day care in the San Francisco Bay area is high like the rent and worth
it. Now I have great little responsibilities when I am at home and let's
just say I have become much more efficient with my music time.

BB:
For the past four years you've been a powerhouse at the Blues Blast
Music Awards winning Best New Artist and Rising Star awards in 2004 and
being nominated for at least an award in every year since. Why does your
sound go over so well in Chicago the birthplace of the blues ?

JN:
I just try to write and perform some cool music. Fortunately for me, the
readers and nominators at Blues Blast think it's cool too. It may be the
fact that I approach my music as a blues singer. Most of my music is
rooted in blues delivery and attitude.

BB:
You've opened for Robert Cray, Keb Mo' and Earl Thomas. Any good stories
you'd care to share ?

JN:
All those guys are tremendous talents. It was a pleasure to meet them
and open for them. Unfortunately, at the time it was all business. Two
bands on the road trying to keep it together, you know what I'm saying.
I have gotten to know Earl since then and consider him a real good
friend.

BB:
You've gigged all over the U.S., Europe, Canada and Asia. How are the
blues audiences all over the world different ? Any good stories you want
to share ?

JN:
Lot's of good stories but one of my favorites took place in Thailand.
Walking into a bar and a Thai band was playing some great pop. I got up
with them and called a blues and they knew exactly what to play. The
blues is such a powerful thing and without it the modern world would not
have pop music as they know it.

BB:
You are from Boise, ID and grew up singing in a Catholic Church. What
kind of music scene is there out there in Boise and where did you hear
the blues growing up ?

JN:
I went to St. Mary's elementary. Catholic schools could barely keep the
doors open. We had classes of ten to fifteen students. Only devout
Catholics and troubled students went there. We had some great teachers.
Sister Colletta had us sing every morning. Two patriotic songs and two
religious ones. She would teach us harmony. That's when I knew I could
sing. Boise had a great music scene. From 1993 to 2000 I was playing
blues five to seven nights a week in town. Oh. The good old days! There
were at least eight clubs to perform at. We had house gigs Monday thru
Thursday and would alternate weekends on the circuit. Boise had a blues
society and a couple of bands that worked the circuit. Jason Ricci
played in a band called Streetwise. Boise really grew and changed. Now
the Catholic Schools have waiting lists.

Interviewer A. J. Wachtel is a long-time entertainment journalist in
New England and the East Coast who currently writes for The Boston Blues
Society and The Noise Magazine. He is well known in the Boston and N.Y.C
areas for his work in the Blues for the last two decades.

Blues Blast Magazine is looking
for experienced writers
to
complete interviews and other writing assignments for the magazine.
Must have experience writing with a background or degree in
journalism or publicity. Must be familiar with Blues music.
Successful applicant must be willing to complete one
interview or writing assignment every week.

If interested please send a
resume, a sample of your writing
and a short bio of your Blues background to
Please
include your phone number in the reply.

Blues Blast Magazine Seeks
Phone App Writer

Blues Blast Magazine is looking
for an experienced
software designer to create "The Blues Blast App" for the magazine. Must have experience writing
phone apps for the IPhone and Android platforms.

If interested please send a resume and information on apps you
have written to
Please
include your phone number in the reply.

All ads submitted will be used if space allows. If space
is limited, ads will be randomly selected to appear. "workin Blues
performers" ONLY can place Want Ads here for FREE.
Buy or sell equipment , musicians wanted, gigs wanted etc.
Limit 100 words. Send your ad submission to

Emerging from a troubled up-bringing and buttressed by her singing in
Southern Baptist choirs, this Louisiana native comes to the
singer-songwriter world steeped in roots. Her music is tempered by
blues, gospel, torchy and New Orleans jazz, folk, soul and whatever else
she sees fit to create the moods found here. She draws from the same
wellspring as Billie Holiday and other tortured chanteuses. The closest
modern-day comparison would be to Madeline Peyroux with a smattering of
Norah Jones. Hope’s voice ranges from a seductive purr to a loud
whisper. The interpretations of interesting covers fare just as well as
the four band originals. Guitars of all sorts, horns, accordions and
keyboards drift in-and-out of the mix. The arrangements of producer
Peter Malick complement and enhance the tunes.

The seduction begins with her rendition of Jackie Wilson’s “I’ll Be
Satisfied” taken at a slow teasing pace. Her phrases are dragged out for
maximum effect. Torch song territory is visited again in “Yesterdays”,
which features the extra attraction of a New Orleans jazz horn section.
A lazy dream-like stroll through the streets of The Big Easy is
portrayed in the original “Fortune Teller”. Organ splashes and
accordions underscore her musing: “Your soul is like a river, it just
don’t know how to flow”. “You Crossed The Line” has a guitar-powered
rhythm that could have been taken from a Bonnie Raitt song. The vocal
here is super-charged with female authority. The hurt is tangible in her
voice as she mourns the loss of her mother who was tragically murdered
in “The Ballad Of Judith Anne”. A mysterious atmospheric musical
approach suits her longing to know more about her mother’s life. The
distorted blues guitar of Peter Malick and Jeff Turmes chug along with
Phil Parlapiano’s accordion fills on Don Robey’s “Mother In Law Blues”.
The old chestnut “Come Rain Or Shine” is taken at a snail’s pace as
Hope’s voice soars to the top of her register. Tom Wait’s (no relation)
rhythm-driven “Get Behind The Mule” is given a pretty straight reading
and her voice fits it like a glove. The listener is bid adieu with a
lilting stroll through the ether, floating on the cloud that is Peter
Malick’s chiming guitar, the sole accompaniment of “Ignatius”. You are
never quite sure if the singer is pondering on a lover or a deity.

A heady infusion of emotion, be it lighthearted or introspective, make
for one intriguing effort. The music benefits from Hope’s ability to
absorb many musical genres to enhance her own sound. Bits and pieces of
R&B, soul, jazz, blues and the traditional pop singer lend themselves to
this very moving singer-songwriter’s muse.

As he has done on his previous outings, Chris Duarte continues to derive
from his Stevie Ray/Hendrix influences to turn out a piece of work with
a solid foothold in rock colored by blues flourishes.

Always employing rotating personnel for his rhythm section is a
challenge for Duarte. He has no problems in doing it and certainly
drummer Aaron Haggerty and bassist Robert Watson lock in tightly with
Duarte’s guitar wizardry. Watson in particular is turned up loud in the
mix so his bass rumblings run parallel to Cream’s Jack Bruce and Got
Mule’s Allen Woody.

One gets the impression Duarte likes to work quickly and not mar his
material with over-production. The songs have a live feel and by
cranking his amps to 11, Chris gets the opportunity to go all out with
guns a blazing.

If you’re going to do a shuffle, it’s best to bring your best game face
and Duarte does just that in “Another Man” with him whipping out his
best Stevie licks. A formula that continues in “Make Me Feel So Right”
with the rhythm section charging at full gallop behind Duarte’s guitar
acrobatics that slather themselves in Lone Star badness.

More often than not, it seems Vaughan’s influence exerts a stronger hold
than the Hendrix one. The six string swaths Duarte unleashes in “Bottle
Blues” harken back to Vaughan’s explosive debut Texas Flood. Duarte just
fans the flames as he shreds blues licks putting him in the leagues with
the Walter Trout’s and the Gary Moore’s of the world.

Though gaining FM radio airplay seems to have been the furthest thing
from his mind, Chris does seem to be hankering for that in “Milwaukee
Blues” letting his rhythm work come to the forefront to set up a dancing
groove to cut through the testosterone.

If you own any of Chris’ previous releases this is the kind of format he
follows. The credo of “If It Ain’t Broke, Don’t Fix It,” seems the
philosophy he follows. It’s worked pretty well in his career thus far.
And he probably sees no reason to change it.

It’s not still the six track “Summer Child” that Duarte transcends the
Hendrix spirit as it takes on an ethereal air with Chris crafting
uncluttered solos amidst the subtle sturdy background of his rhythm
section.

Just when you think the arrow can’t go any further right on the meter,
Chris seems poised on the brink with making his Marshall amps explode as
he rocks his way through sonic blaster “Searching For You.” Though the
following cut “Black Clouds Rolling” slows things down a tad, it’s a
blues that rocks with enough venom to coat a pair of rattlesnake boots.
Duarte just reaches into his trick bag to unleash a torrential downpour
of notes with the obvious nods that can make him the next guitar hero.

And for synthesizing a Stones and Beatles aura, look no further than
“I’ve Been A Fool” where if you listen with a keen ear, you can catch
some familiar licks if you know your songbooks well enough. The finest
moment is saved for “Prairie Jelly” which guarantees itself as a concert
favorite. Played with the ornery spirit of Cream, the recklessness of
Govt Mule and no holds- barred abandon of the Jimi Hendrix Experience,
the song screams power trio in more ways than one. Duarte’s John
McLaughlin like leads just propel this tune along as it careens, crashes
and speeds on a musical juggernaut with Watson and Haggerty attempting
to play better than the masters they emulate.

If there is any musician worthy to play on the Jimi Hendrix Tribute
Tour, then the honor belongs to Chris Duarte who is his own Voodoo
Chile.

Reviewer Gary Weeks is a contributing writer. He resides in
Marietta, GA.

BB And The Blues Shacks is a German blues band that has been running for
twenty years and has issued many CDs. The band was founded by brothers
Andreas (guitar) and Michael Arlt (harmonica) and this CD is the first
solo effort by Andreas. Andreas’ intention was to revisit some of his
early influences, often selecting less familiar material and artists,
with the intention of making a more traditional album than would be the
case with the band and bringing some of those early influences to a
wider audience. In selecting such ‘vintage’ material Andreas
demonstrates how rock and roll developed, emerging from the big band
sounds of the 40s and the smaller Rn’B combos of the 50s. In his own
words “this album represents a cross-section of my inspirations, an
appreciation of my personal heroes, freshly packaged.”

The quality of the recording is absolutely first rate and the players on
the session, all German, are excellent. The recording was made in
Vienna, Austria, with a full band of bass, drums, guitar, keys, sax,
trumpet and trombone: the horn arrangements by sax player Tom Müller are
outstanding. Chicago guitarist Dave Specter provides interesting sleeve
notes and Andreas covers the background to each track selection in some
detail, making the whole CD a brilliant introduction to these classic
sounds. For guitar buffs the instrument used on each track is noted and,
as befits a CD issued by a German label the sleevenotes appear in German
as well as English.

So, what material has been chosen here? The more familiar tunes include
“You’ve Got Bad Intentions”, a hit for Bobby Bland and “I Wonder Why”, a
hit for BB King. Johnny Guitar Watson is included by a cover of Leroy
Carr’s “In The Evening” and T-Bone Walker starts the CD off with “Street
Walkin’ Woman”, both less familiar choices than is often the case. At
the other end of the spectrum Texan Goree Carter was a new name to me,
as was his tune “Hoy Hoy” from 1949 and “Let’s Start A Romance” is an
obscure cut from Little Joe Hinton. Even when closing the CD with an
Albert Collins instrumental, Andreas has opted for the lesser known
“Snow Cone Pt. 2”, so although none of the material on the album is
original it all sounds pretty fresh.

Within his chosen era Andreas gives us a fair range of styles. “She’s
The One” is a Hank Ballard song covered by Freddie King and offers some
tough Texas guitar; “High Low” could well be Roomful of Blues; “It Hurts
To Love Someone” is a typical Guitar Slim ‘churner’; “Shooty Booty” is
early rock and roll from Ivory Joe Hunter; “I Was Wrong! Played With
Love” is a slow, dramatic Southern number, originally by Roscoe Shelton.
Andreas sings well with barely a trace of accent and his guitar solos
are all relatively short and to the point, no ‘showboating’ anywhere.
Equally there are some excellent opportunities for the horn players to
shine, notably the sax (both tenor and baritone) of Tom Müller.

If you enjoy well played, horn-driven rhythm and blues I am sure you
will enjoy this CD which I can recommend most highly. Personally I’m now
off to find out more about BB And The Blues Shacks!

Reviewer John Mitchell is a blues enthusiast based in the UK. He also
travels to the States most years to see live blues music.

Shamefully, I must admit I had not heard of Wes Lee prior to listening
to this CD. When I played it I went in cold- no prior knowledge, no
research. When I heard it I could not believe that there was an old
traditional Delta bluesman whom I had missed hearing about. Stripped
down and authentic blues, recorded at Tush Hog Shack in Greenwood,
Mississippi and (as I found out) played by a guy who is not even
approaching middle age.

Lee moved to Hattiesburg about 6 years ago. Having toured with
Mississippi based Mr. Tone & the Blues Funk Revival from 1997 to 2002 he
then embarked to St Louis to follow music’s call and adding surf and
rockabilly to his blues background. His return to Mississippi to
reignite his true love in music and has released his third and with this
his fourth albums. His prior album “Live and Alone” was a lot f original
stuff and like this was solo. Lee released this CD on the cusp of the
100th anniversary of Robert Johnson’s birth and he delivers 9
traditional blues tracks and finishes up with an original entitled “Cryin’”.
Top to bottom, the man and his guitar stand up well to the scrutiny of
solo acoustic music.

Lee superbly handles the fingerings of Johnson standards like
“Crossroads Blues”, “Kind Heated Woman”, “Malted Milk” and “From Four
Til Late”. He is deft with Big Bill Broonzy classics like “Hey Hey”, and
“Key to the Highway”. The acoustic guitar work is impeccable on these
cuts. Elmore James’ “It Hurts Me Too” gets a great cover and excellent
slide work on a resonator as does Muddy Water’s “Can’t Be Satisfied”.
The traditional “John the Revelator” brought me to church- it was
spiritual and very moving. His vocals are gritty, guttural and evoke the
sounds of real original blues. His vocal work is exceptionally
intriguing. The new cut fits in with the standards quite well. The sound
and presentation are classic and traditional yet fresh and new. Good
stuff!

I don’t have any criticism for or bad things to say about this CD. I
liked it and it was fun. Yes, it is stuff we’ve all heard thousands of
times, but the guy can play and sing and I really enjoyed it. He is well
schooled in the blues traditions and is an outstanding musician, singer
and songwriter. Well worth a listen, and I might have to track down a
copy of his last CD, too; what I sampled sounded pretty darn good, too!

Reviewer Steve
Jones is a Board Member of the
Crossroads Blues
Society and is a long standing blues lover. He is a retired Navy
commander who served his entire career in nuclear submarines. In
addition to working in his civilian career, he writes for and publishes
the bi-monthly newsletter for Crossroads, chairs their music festival
and works with their Blues In The Schools program.

On Monday, December 5th the Grafton Blues Association (GBA) will be
holding a holiday party for Members starting at 6 pm at the Bridge
Inn in Grafton, WI. The holiday party will be followed by a
performance/open jam hosted by Tweed Funk, who will be representing
the GBA in Memphis at the International Blues Challenge. 1216 Bridge
Street, Grafton, WI. For more info or to RSVP contact
graftonblues@wi.rr.com

Derrick
Martin And Chris Gill have a history. Gill is the former leader of The
Sole Shakers, and percussionist Derrick “D’Mar” Martin spent 15 years as
drummer with Little Richard and has a mass of session credits to his
name. The pair were Semi-Finalists in the 2011 International Blues
Challenge. I’m not surprised.

This music
is new, but at its roots, oh, so old. This is what acoustic blues is
meant to sound like.
All the songs save one, are originals, the exception is a nice
re-working of Little Walter’s, My Baby. Maybe Baby, is a terrific piece,
with Martin providing a seriously African rhythm – with a fife added it
would sound remarkably like the fife and drum music of Othar Turner and
his family.

Harmony
Street comes with some jazzy chording by Mr Gill whilst Tore Down is a
smooth minor key blues, evocative of the sometimes called Bentonia,
Mississippi, sound.

Chris Gill
has a fine, smoky voice sounding at times like a mix between Eric Bibb
and Jerry McCain. His acoustic work is excellent too. Without being
intrusive he manages to provide a thoughtful backing to all the tracks,
with some nice slide work here and there, no better than on the closer
the instrumental International Blues Stomp. Some seriously African
sounding drumming here too, with a nice little drum solo from D’Mar with
Mr Gill vamping in the background.

All in all
a nice little outing for this pair; their styles mix wonderfully well. I
for one, look forward to their next outing, perhaps with a harp player –
but no more instrumentation. Not needed!

Reviewer Ian McKenzie lives in England. He is the editor of Blues In The
South (www.bluesinthesouth.com)
a monthly flier providing news, reviews, a gig guide and all kinds of
other good stuff, for people living and going to gigs along the south
coast of England. Ian is also a blues performer (see
www.myspace.com/ianmckenzieuk) and has two web-cast regular blues
radio shows. One on www.phonic.FM in
Exeter (Wednesdays: 1pm Eastern/ 12 noon Central), the second on KCOR –
Kansas City Online Radio (on Fridays at 1pm Eastern/ 12 noon Central)
www.kconlineradio.com.

Webster's
Ninth New Collegiate Dictionary defines a “mosaic” as “a surface
decoration made by inlaying small pieces of variously colored material
to form pictures or patterns.” That's a mouthful to say, but a sight to
behold! The Chicago Kingsnakes, for the cover art of their tenth release
on Music King records, have aptly chosen a mosaic. It depicts a man
playing guitar, and one can easily guess its most prominent color. “Blue
Mosaic” is an intricately-crafted work, offering a predominance of
Chicago blues, but also containing colorful sparks of gospel-influenced
and acoustic numbers. One of the defining characteristics of mosaics,
the quality that causes many art fans to revere them, is this: Each
stone is absolutely unique, yet contributes smoothly to the overall
image. Such is the case with the twelve original, “inlaid” songs here.
Some brilliant highlights:

Track 4:
“Tell the Truth”--Hearing the Kingsnakes' choir-like call to honesty,
one might imagine strolling into church. However, if the “baby”
mentioned in this song doesn't come clean, she'll be strolling out the
door! The band's leader, James “Ang” Anderson, states, “The new lineup
has very strong vocal harmonies, and we wanted to capture that sound on
this disc.” Here, with the help of long-time cohort Ron Berry on bass
and backing vocals, they have done so with sweet, smooth artistry.

Track 6:
“So Cold in Chicago”--For anyone familiar with the Windy City, this
swinging selection is a real treat! Winning this CD's award for funniest
lyrics, it features a frustrated James “Ang” Anderson bemoaning the
temperature: “Wind shot me like a .45—I'm stranded on Lake Shore Drive.
Lake Michigan's frozen. All the schools are closin'!” As listeners
chuckle (and shiver), they'll quickly warm up to Nelson Keaton's breezy
harp and Anderson’s tasty guitar runs anchored expertly by Gus Gotsis on
drums and Mike Bailey on bass. The only thing it lacks is a decisive
closer: perhaps the sound of icicles shattering, or that of a car that
won't start, followed by a choice word!

Track 9:
“Lefty”--Despite its unassuming title, this is Chicago blues at its
finest. The Kingsnakes go all out on this rip-roaring stomp, with each
instrument red-hot in the middle of their “Blue Mosaic.” Anderson
proudly reminisces about his early days: “Blue Monday at the [original]
Checkerboard [Lounge]—it's my time to jam. All of these Monday nights
made me who I am!” Purists will delight, and everyone will dance, once
they hear the opening notes of this number! The title refers to Chicago
legend “Lefty” Dizz, who graciously allowed “Ang” to play his guitar.

The band
chose the title “Blue Mosaic” for their latest album because the music
reflects their origins in Chicago blues as well as R & B influences.
“Ang” Anderson explains, “We all came up playing the blues, but were
listening to artists like Curtis Mayfield, Al Green, Booker T. and the
MG's and James Brown on the jukeboxes at the clubs.” One thing's for
sure: out of varied and seemingly-unconnected fragments comes a cohesive
whole, a mosaic made of notes and chords instead of stones. The Chicago
Kingsnakes realize this, finding joy in their creation!

Reviewer Rainey
Wetnight is a 32 year old female Blues fan. She brings the perspective
of a younger blues fan to reviews. A child of 1980s music, she was
strongly influenced by her father’s blues music collection.

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